Collapsing Autopia: Feliza Bursztyn’s Chatarras
نویسندگان
چکیده
In “Confection and the Aesthetic of Collapse,” Ashleigh Deosaran situates Vasquez La Roche’s multimedia artwork within Trinidadian history by setting farcically conciliatory colonial discourse about region’s sugar plantations its workers, found in prints postcards dated from nineteenth to early twentieth century, against prescient performance. The artist’s engagement with an aesthetic collapse is described as threefold Deosaran: a physical sculptures that melt become undone; temporal collapse, he substantiates continuities between archive contemporary culture biases; conceptual conceiving aesthetics for decolonial, post-capitalist future where rusting ruins historical violence attest failure ideologies empire. Deosaran’s productive framework observing work another Latin American artist, sculptor Feliza Bursztyn (1933-1982), known her junk metal assemblages kinetic sculptures. Assemblages Flor (Flower, 1974) Chatarra de Automóvil (Automobile Junk, 1980-81), analyzed here, provide insight into artistic praxis—saturated, it shall be demonstrated, collapse.
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ژورنال
عنوان ژورنال: react/review: a responsive journal for art & architecture
سال: 2023
ISSN: ['2768-3168']
DOI: https://doi.org/10.5070/r53061232